I love arts & crafts and mission styles too so I was drawn right into this post. Since you have a budget and say you won't (ever?) have more money to put into the decor I think you need to sit down and think about how to spend the money. Which things do you expect to last "forever" and which can you see replacing down the road? Put the bulk of your money into the forever stuff. I think as long as you keep things simple you can mix art & crafts/mission with other styles with great success. Puffy recliners are no good though so get rid of that thing! Just kidding. Sort of ;-) We'd all like to a houseful of Stickley and Van Erp but most of us can't afford that. There are "no name" antique mission furnishings out there at reasonable prices (because they are no name) that are solidly built. Someone like my father, who hated mission furniture, would use them as work benches or whatever. Now they need refinishing but they're still good pieces. Keep your eyes open for those diamonds in the rough.

Walkin Yesindeed, a reporter once asked Louis Sullivan the same basic question you just asked me, and got back one of Sullivan's typical cryptic responses: "I would describe it as the successful solution of a problem." Thanks a lot, Louis. Big help. And when somebody else asked Sullivan to describe the style of the Auditorium's own decoration, he said "I would prefer not to describe it at all. I would perfer for you to look at it yourself and make up your own mind." Let's just say that Sullivan would have gotten himself eliminated on the first round of something like "Design Star" that are less about design ability or artistic vision and more about personality & sense of humor. And those things are fine, but they have nothing to do with design. Anyway, here's the thing: like I said above, most of Sullivan's mature work was on major commissions: the Auditorium, the Chicago Grand Opera House, the Chicago Stock Exchange, department stores, banks, railway stations. After Adler & Sullivan becamse famous with the opening of the Auditorium, he seldom designed anything as small as a residence again, and most of the residential designs that came out of the office were in fact Wright's, or George Elmslie's, with Sullivan directing the overall design & the ornamental detailing. Even in this somewhat limited role, it was his vision that determined the aesthetic form of the finished buildings and the look that we think of as Sullivanian, in the same way that Fritz Kreisler & George Solti & Daniel Barenboim put their individual stamps on the sound of the Chicago Symphony, even though they weren't the ones playing all the instruments. Unfortunately, since Sullivan didn't really do residences, and never furnished the interiors of the houses that came out of the A&S offices, we have to look at his other buildings to find what motivated him, but it's not hard to see. In a letter to a banker client, he talked of the decorative scheme of the interior as a 'color symphony' and he wasn't kidding: the finished banking room has literally dozens of intermingled colors, mostly soft greens, yellows & oranges. It also has an elaborate stenciling scheme that blends all those contrasting colors with such subtlety that they seem to dissolve into a green haze that floats in front of the wall plane. Not only that, the main banking room is lit with a pair of gigantic arched windows of golden yellow & white glass, and at night the room glows with the light from four immense electroliers that hang from the corners of the room, fixtures in the form of gigantic clusters of sea green foliage & coiling, intertwined stems, all studded along their length with electric light bulbs. And don't forget the honey-colored Roman bricks on the walls, the intricately molded paster ceiling ai more tinys of green, the green terra cotta moldings, the bronze teller cages or the green marble counters. What's amazing was that this incredibly rich scheme was designed not for a sophiticated city audience but for a small-town farming community, where the people in line were likely to be standing in muddy boots & dirty overalls, and when he was designing for the really fancy people, it was amazing. But rather than intimidating the locals, it enobled them and their daily activities. Sullivan was a color genius, that's all I can say. After dinner I'll look up the description of his color scheme for the McVickers' Theatre here in the city, which, even as mere words on a page--the theatre was demolished decades ago--is one of the most striking combinations you'll ever see.

If you truly want something elegant and multi-functional you may just have to have one made. Here is a wrought iron chandy and ceiling fan in the link below. Scroll down to where it says: NEW! Fleur de Lis Six Light Wrought Iron Chandelier with Built-In Ceiling Fan. Yeah, I know, it looks like something that belongs in a Mediterranean decor BUT, use the *contact us* button to see if they have others in other styles coming up. It is hard to really recommend one for you space without any photos. Google around and be sure to check Esty. Here is a link that might be useful: Wrought Iron

I ended up with tiles from Seneca Tile in their Handmold line. I absolutely love the way the tiles look surrounding my fireplace and they would be just as beautiful on a backsplash. I searched high and low for handmade tiles that weren't $$$ before I went into a more boutique type tile store and found exactly what I was looking for. The link doesn't do the tiles justice at all. For example, the tile picture below is the color "sierra", which on the website looks beigy. IRL, it is far from being beige. Here's an old picture, but you get the idea. Here is a link that might be useful: Handmold collection